The problem with trees Many systems are organized hierarchically. The CERNDOC documentation system is an example, as is the Unix file system, and the VMS/HELP system. A tree has the practical advantage of giving every node a unique name. However, it does not allow the system to model the real world. For example, in a hierarchical HELP system such as VMS/HELP, one often gets to a lead on a tree such as: HELP COMPILER SOURCE_FORMAT PRAGMAS DEFAULTS only to find a reference to another leaf: Please see HELP COMPILER COMMAND OPTIONS DEFAULTS PRAGMAS and it is necessary to leave the system and re-enter it. What was needed was a link from one node to another, because in this case the information was not naturally organized into a tree. Tim Berners-Lee, Seeing With Fresh Eyes A City Is Not a Tree hierarchywww
Cool URIs don't change An Essay by Tim Berners-Lee www.w3.org What makes a cool URI? A cool URI is one which does not change. What sorts of URI change? URIs don't change: people change them. The User Interface of URLs www
The pernicious issue with pangrams The far more pernicious issue with pangrams, as a means for evaluating typefaces, is how poorly they portray what text actually looks like. Every language has a natural distribution of letters, from most to least common, English famously beginning with the E that accounts for one eighth of what we read, and ending with the Z that appears just once every 1,111 letters. Letter frequencies differ by language and by era — the J is ten times more popular in Dutch than English; biblical English unduly favors the H thanks to archaisms like thou and sayeth — but no language behaves the way pangrams do, with their forced distribution of exotics. Seven of the most visually awkward letters, the W, Y, V, K, X, J, and Z, are among the nine rarest in English, but pangrams force them into every sentence, guaranteeing that every paragraph will be riddled with holes. A typeface designer certainly can’t avoid accounting for these unruly characters, but there’s no reason that they should be disproportionately represented when evaluating how a typeface will perform. Jonathan Hoefler, Text for Proofing Fonts www.typography.com Embracing Asymmetrical Design typographylanguagedesign